EUGENIA RASKOPOULOS in ‘Know My Name: Australian Women Artists 1900 to Now'

Eugenia Raskopoulos, Untitled no. 6, Gadigal land/Sydney, 1991 from the series Goddess/mother/daughter, gelatin silver photograph; Eugenia Raskopoulos, Untitled # 12, Gadigal land/Sydney, 1992 from the series Dangling virgins — Suicide for women in ancient Greece, gelatin silver photograph

EUGENIA RASKOPOULOS is included in Part Two of ‘Know My Name: Australian Women Artists 1900 to Now’ at the National Gallery of Australia.

‘Know My Name’ tells a new story of Australian art. Looking at moments in which women created new forms of art and cultural commentary such as feminism, the exhibition highlights creative and intellectual relationships between artists across time.

‘Know My Name: Australian Women Artists 1900 to Now’ continues until 26 June 2022.

Five of ARC ONE artists are featured in the newly published 'Doing Feminism: Women’s Art and Feminist Criticism in Australia'

Anne Marsh, ‘Doing Feminism: Women’s Art and Feminist Criticism in Australia’, published on 2 November, 2021, by The Miegunyah Press.

Five of ARC ONE artists – ANNE ZAHALKA, EUGENIA RASKOPOULOS, PAT BRASSINGTON, JULIE RRAP and JACKY REDGATE are featured in the newly published ‘Doing Feminism: Women’s Art and Feminist Criticism in Australia’.

Providing a comprehensive analysis of women’s art movements in Australia from the 1960s onward, this remarkable book by art historian Anne Marsh chronicles the struggles, contestations and achievements of women and feminism in Australian visual arts history. The book also acts as an divergent investigation into how the “doing” of feminism has shaped contemporary art and culture at home and abroad.

“…art and feminism are cyclical; they spiral in and out of time, and it’s interesting to see these younger women, very schooled in theoretical frameworks, turning back to an earlier time, and asking: why aren’t we doing that anymore?” ——Anne Marsh in conversation with Susanna Ling.

EUGENIA RASKOPOULOS & JACKY REDGATE IN 'KNOW MY NAME: PART TWO' AT NGA

Jacky Redgate, Light Throw (Mirrors) #3, 2010-11, C-Type photograph face mounted on acrylic, 126 x 158cm

JACKY REDGATE & EUGENIA RASKOPOULOS are included in Part Two of Know My Name: Australian Women Artists 1900 to Now at the National Gallery of Australia.

Following a gradual transformation from Part One, Part Two is now open in its entirety. Know My Name tells a new story of Australian art. Looking at moments in which women created new forms of art and cultural commentary such as feminism, the exhibition highlights creative and intellectual relationships between artists across time.

Part Two continues until 26 January 2022.

More information >

EUGENIA RASKOPLOULOS FINALIST IN PORTRAITURE PRIZE

Congratulations to EUGENIA RASKOPOULOS, finalist in the Martin Kantor Portrait Prize with her work Astro!

Named in honour of the late portrait photographer Martin Kantor, this prize is awarded for an exceptional photographic artwork of a significant, living Australian in the fields of art, letters, science, sport or politics. Finalists were carefully selected by judges Naomi Cass, Max Delany, Bill Henson and Fiona Sweet.

See all of the finalists in the one room at the 2021 Biennale this August.

More information >

Eugenia Raskopoulos, Astro, 2013, digital print on archival paper, 100cm x100cm

EUGENIA RASKOPOULOS MONOGRAPH RECOGNISED IN PUBLISHING AWARDS

EUGENIA RASKOPOULOS’ artist monograph, co-published by The Power Institute and Formist, has been recognised with a Highly Commended in the Art Association of Australia and New Zealand’s 2020 Art Writing and Publishing Awards.

Eugenia Raskopoulos: Vestiges of the Tongue was highly commended in the 'Artist-led Publication' category.

The judges described the publication as: 

Eugenia Raskopoulos: Vestiges of the Tongue, 224 pages, 30 x 23 cm, hardcover, published by Formist (Sydney).

“...a fine book on the artistic practice of Eugenia Raskopoulos, whose family cultural background and experiences of multicultural Australia informs her interest on a range of issues including the feminine body, language, translation, cultural exchange, knowledge and power. Between sumptuous colour plates of images representative of an artistic practice that prompts critical reflection and response, a collection of engaging and insightful essays by curators and academics brings a scholarly rigour to this high quality publication that is to be commended for both its aesthetic and intellectual appeal."

Congratulations to the team!

Buy the book here >

EUGENIA RASKOPOULOS IN ARTIST PROFILE MAGAZINE

EUGENIA RASKOPOULOS is profiled in the latest edition of Artist Profile magazine!

“Throughout Raskopoulos’ forty-year career, the artist has maintained a deep interest in changing the present by challenging the ways in which we describe the past. She has woven her own image and experiences into a series of photographs, films and installations to articulate the constant negotiation that migrant bodies face in foreign cultures,” writes Michael Do.⠀

Raskopoulos is currently working towards her solo show at ARC ONE Gallery opening in March 2021. Pick up the magazine for a peek inside her studio!

'SHADOW CATCHERS' REOPENS AT AGNSW

Shadow Catchers at Art Gallery of New South Wales is open once again!

EUGENIA RASKOPOULOS, JACKY REDGATE & JULIE RRAP all have works in the this exhibition, which draws on the AGNSW collection to investigate the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.

There is a fantastic video guide of the exhibition narrated by senior curator of contemporary Australian art Isobel Parker Philip. This was filmed as part of the AGNSW’s Together in Art initiative, which seeks to create meaningful art encounters online.

Watch the video tour here >

Eugenia Raskopoulos, installation view of Diglossia seriees in Shadow Catchers at AGNSW, 2020

EUGENIA RASKOPOULOS & NIKE SAVVAS AT THE CCC

Nike Savvas, Zero to Infinity, 2003, blown glass storks

EUGENIA RASKOPOULOS & NIKE SAVVAS are featured in the exhibition Whose Story Is This? Anyway! at the Chinese Cultural Centre, Sydney.

This exhibition is a dialogue between Chinese & Australian women artists, curated by Ll Hong. It reflects the the invaluable contributions and positive efforts made by women artists from China & Australia, and how such contributions influence, change and reconstruct both the culture & the society we live in.

The exhibition continues until 30 April.

More information >

EUGENIA RASKOPOULOS & JULIE RRAP AT THE AGNSW

EUGENIA RASKOPOULOS & JULIE RRAP are featured in the exhibition Shadow Catchers, opening today at the AGNSW. This exhibition investigates the ways shadows, body doubles and mirrors haunt our understanding of photography and the moving image.

Eugenia's Diglossia (2009) series is on display, along with Julie’s Body Double (2007).

The exhibition runs until 17 May.

More information >

EUGENIA RASKOPOULOS WORK IN VENICE

Eugenia Raskopoulos, Rootreroot [video still], 2016, HD digital video, single channel, colour, stereo, 8:45 min;

EUGENIA RASKOPOULOS is exhibiting 'Rootreroot' in 'The Body Language', an international exhibition at THE ROOM Contemporary Art Space in Venice. 

In this video work, the artist is filmed from above as she drags an olive tree clockwise is the upper section, and a wattle tree anticlockwise below. Where the circles fleetingly intersect, we glimpse a moment of completeness between Raskopoulos' Greek & Australian identities. "Whether gestures are recorded or photographed, my body becomes a means for mark-making during performative acts that involve translation, transformation and fragmentation," says the artist. 

The exhibition continues until 12 March.

More information >

EUGENIA RASKOPOULOS

Eugenia Raskopoulos, (dis)order, 2019, 10.33 single-channel digital video installation, discarded household goods, dimensions variable. Installation view at The National exhibition, Carriageworks, 2019.

EUGENIA RASKOPOULOS's work (dis)order is now on show at the Ningbo Museum in China in their 2019 Pacific Rim exhibition.

This work sees a tower built from discarded whitegoods stacked high and then toppled by the artist. Footage of the performance plays over the site of the destruction, where the appliances now lay scattered.

(dis)order is at once action and archive. It questions the speed at which we obtain and discard technologies of convenience, and implies that these machines are an inadequate or impermanent substitute to the body in domestic space.

The Ningbo Art Museum was built in 2005 and designed by Pritzker Prize-winning architect Wang Shu.

More information >

EUGENIA RASKOPOULOS

in a word untitled #1, 2004, marble, 193.5 x 71.5 x 3 cm; Un(truth), 2019, reflective vinyl, 578 x 358.5 cm. Installation view at Campbelltown Arts Centre; photo courtesy of the C-A-C.

EUGENIA RASKOPOULOS is exhibiting a newly commissioned work in OK Democracy, We Need To Talk at Campbelltown Arts Centre (C-A-C), alongside an existing work. 

OK Democracy, We Need to Talk is a conversation and a provocation that suggests an ambition for change through the exploration of how democracy is performed in its current state. Reflecting on the current state of democracy in Australia and around the world, the exhibition presents an open discussion about democracy and its future – or potentially – its demise.

Raskopoulos worked with journalist Peter Greste on her new work Un(truth), which focuses on journalists who have lost their lives in search of democracy and freedom of speech. Mirrored letters run down the gallery wall, forming the names of 54 journalists who were killed in 2018. This work is paired with an older piece, In a word, a marble slab inscribed with the word DEMOCRACY in Ancient Greek. The marble sits on the floor as if dropped from above and suggests a broken or unstable system. "I equate democracy with a sense of freedom, a sense of equality, but I feel neither of these are accurate descriptions of democracy in this day," Raskopoulos said.

The exhibition continues until 31 July.

EUGENIA RASKOPOULOS

Image: courtesy of Power Publications

Eugenia Raskopoulos: Vestiges of the Tongue is the first monograph documenting three decades of work from the photo-media artist, exploring themes of gender, migration and globalisation, and the ways they shift between our eyes and our tongues. Co-published by Formist and Power Publications, this is a beautifully crafted book and an important recognition of Raskopoulos' pioneering practice.

To mark the special occasion of this book launch, Carriageworks is hosting a panel on Tuesday 16 April 6 - 8.30pm. Hear from Raskopoulos as well as selected contributors to the publication and curators of 'The National' as they discuss how art can navigate the nuances between images and text.

Click here for event details! This is a free event, and a 10% book discount will be offered to all attendees.

EUGENIA RASKOPOULOS

Eugenia Raskopoulos, Diglossia  #4, 2009, pure pigment print on archival paper, 140 x 93.5 cm. 

Congratulations to EUGENIA RASKOPOULOS! Announced as one of the artists selected for The National: New Australian Art 2019 at Carriageworks. 

The exhibition presents the latest ideas and forms in contemporary Australian art, curated across three of Sydney's premier cultural institutions: the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. 
 

More information >

EUGENIA RASKOPOLOUS | JULIE RRAP | ANNE ZAHALKA

EUGENIA RASKOPOULOS, JULIE RRAP and ANNE ZAHALKA have been included in the important exhibition Dark Rooms: Women Directing the Lens 1978–98 at Griffith University Art Museum. 

Griffith University Art Museum says: "Against the backdrop of the feminist movement and activism in arts and politics, many women artists during this period made work that refused the male gaze. Acutely aware of the ways in which the lens could empower or reduce the subject, they put themselves, friends, and family in the picture, and in doing so, changed the cultural landscape of Australia. Photomedia became an important way for artists to confront racism and the objectification of peoples; disrupt and subvert sexually violent imagery; and forge a renewed interest in psychoanalytic theory."

The exhibition opens 14 July from 2pm at the Griffith University Art Museum, Brisbane.

The exhibition runs until 25 August.

More information >

Eugenia Raskopolous, Untitled No 3, 1998, Ilfachrome photograph, 77 x 99 cm.

Julie Rrap, Persona and Shadow: Madonna, 1984, cibachrome print, 194 x 105cm. 

Anne Zahalka, The Artist (Self-Portrait), Berlin, 1987, cibachrome photograph, 80 x80cm. 

EUGENIA RASKOPOULOS

EUGENIA RASKOPOULOS has been included in the video exhibition A Visibility Matrix at The Douglas Hyde Gallery in Dublin. Initiated by Dublin-based artists and long-term collaborators, Sven Anderson and Gerard Byrne, the exhibition unfolds as a response to the ambitions of abandoned art and technology projects from the 1960s–1980s that prioritised multiscreen video projection, monitor arrays, communications networks and algorithmic composition principles. These projects explored visual excess and hyperstimulation prior to the development of the Internet, and before multi-screen video displays expanded into the vernacular backdrop of everyday public and private life.

The exhibition opens Wednesday 6 June and continues until 25 August.

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Eugenia Raskopoulos, Rootreroot, 2016, HD digital video, single channel, colour, stereo, 8.45mins.

EUGENIA RASKOPOULOS

EUGENIA RASKOPOULOS's work is featured in a new exhibition at the Centre for Contemporary Photography titled Figuratively Speaking, curated by Laura Lantieri. The show looks at the body as a medium for language in lens-based media and includes three of Raskopoulos's striking large-scale prints from her 'Diglossia' series. 

The exhibition runs from 2 Feburary - 11 March 2018. 

More information >

Eugenia Raskopoulos, Diglossia #4, 2009, pure pigment print on archival paper, 140 x 93.5cm.

EUGENIA RASKOPOULOS

Congratulations to EUGENIA RASKOPOULOS, who has been shortlisted for this year’s NSW Visual Arts Fellowship (Mid-career/Established). The recipient will be awarded a cash amount of $30,000 from Create NSW, a major Artbank commission of up to $20,000 and a residency at a NSW regional gallery.

Eugenia Raskopoulos's work will be featured in an exhibition at Artbank in Sydney from 26 October 2017 to 16 February 2018, with the Fellowship recipient to be announced on the opening night of the exhibition.

More information >

Eugenia Raskopoulos, rootreroot & routreroute, 2016. Installation view Tarrawarra Biennial 2016: Endless Circulation. Photo: Andrew Curtis

EUGENIA RASKOPOULOS

UQ Art Museum has posted an article about EUGENIA RASKOPOULOS' work in their current exhibition, The Dust Never Settles. For this exhibition, Michele Helmrich, UQ Art Museum’s Associate Director (Curatorial) selected works from their collection that relate to 'unfinished business' in terms of cultural, environmental and psychological histories that remain unresolved. In the article, the RASKOPOULOS talks about how memory and the passing of knowledge is an important part of her practice.

To read the full article, please click here.
The Dust Never Settles runs until 30 July 2017.

Eugenia Raskopoulos, re‑ma(r)king, 2010, 2 channel video, sound, 5:15 min

TRACY SARROFF & EUGENIA RASKOPOULOS

TRACY SARROF, Lollipop & Lime (Detail), Orange (Detail) & Rosy Amber, Mandarin & Lime (Detail), 2017, Perspex and LED light components, dimensions variable.

Guides to help you, the exhibition curated by TRACY SARROFF is coming to an end. This exhibition features works by EUGENIA RASKOPOULOS, SARROFF and other artists exploring light sources as creative mediums. Guides to help you will end with a closing event this Saturday 22 April, from 3-5pm at the Campbell Arcade, Melbourne.

You can read a review of the exhibition from The Culture Concept Circle here